40s | The Sleepless Critic

REVIEW: Celebrity Series of Boston brought vintage effervescence to Boston with renowned touring group Paul Taylor Dance Company

Posted on April 24, 2023 by The Sleepless Critic

Forget those troubles and get happy with the lively, comedic, and exciting Paul Taylor Dance Company.

Infusing classical, big band, and swing with a modern twist, The Paul Taylor Dance Company zealously delivered comedy, athleticism, romance, drama as well as some reflective moments wrapped in vibrant costumes by Marc Eric and Santo Loquasto with Donald Martiny’s exuberant set design.

Celebrity Series of Boston presented renowned national touring group, Paul Taylor Dance Company for a limited engagement from April 14-16 live and in person at the Boch Center Shubert Theatre. The show was two hours including two intermissions. Click here to see where Paul Taylor Dance Company will perform next and here for a look into Celebrity Series of Boston’s upcoming events.

Somewhere in the Middle by Amy Hall Garner Madelyn Ho w L-R Devon Louis Lee Duveneck Austin Kelly John Harnage Photo by Ron Thiele

Bright colors gleam over a black landscape as Count Basie’s booming, horn-infused rhythms measure carefree spins and leaps in Somewhere in the Middle. Effervescent and gleeful in bursting lime, coral, teal, and mustard by Mark Eric, Madelyn Ho, Lee Duveneck, Devon Lewis, John Harnage, Maria Ambrose, Lisa Borres, Jada Pearman, and Austin Kelly delivered childlike wonder and an uplifting glow tumbling in somersaults and breezy lifts to heart thumping rhythms by Sarah Vaughan, Count Basie, Duke Ellington, and Bill Evans. This joyful, upbeat spectacle, with captivating choreography by Amy Hall Garner, was only outdone by the subtle and spontaneous moments prevalent throughout the production. A cheerful shout, an impulsive wave, a kiss on the cheek, a snap of the fingers, or a swift tap on the shoulder brought unique distinction to the performances, making it all the more thrilling.

Brandenburgs Full Cast photo by Ron Thiele

Brandenburgs, featuring music by Bach and his Brandenberg concertos, is an athletic, sophisticated, and romantic foray into classical ballet. Featuring piano and fiddle-laden rhythms, dancers John Harnage, Eran Bugge, Madelyn Ho, Lee Duveneck, Alex Clayton, Devon Louis, Maria Ambrose, Shawn Lesniak, and Jake Vincent strut and promenade across the floor in regal stances which are at times, untamed, open, but always seamless by Paul Taylor. Devon Lewis and Maria Ambrose deliver a romantic and moving Pas de deux which is the first of two reflective pieces within this production.

Somewhere in the Middle by Amy Hall Garner Maria Ambrose Devon Louis Photo by Ron Thiele

Brandenburgs is a vigorous, rich, and robust performance that continues this compelling celebration, the second in a three part production. Adorned in gold trimmed and flowing garments in various shades of green, the group’s impressive linear and synchronized movements depict elegance and grace ending their dance as it began.

The Paul Taylor Company saved the best for last with Company B, a salute to the famous Andrew Sisters. Featuring the full cast that includes Christina Lynch Markham, Madelyn Ho, Kristin Draucker, Lee Duveneck, Alex Clayton, John Harnage, Maria Ambrose, Lisa Borres, Jada Pearman, Devon Louis, Jake Vincent, Jessica Ferretti, and Austin Kelly, the ten song tribute features enough liveliness and humor to lift anyone’s spirits. Accessorized with flowers and simply dressed in flowing skirts and pants, white shirts, and accented red belts faithful to the late 30s and early 40s, Paul Taylor’s timely choreography infuses some popular dances of the era including the jitterbug, swing, the twist, and the polka in a mix of spontaneity, poignant reflections, and comic wit.

One of the many highlights included a humorous spin to the Andrews’ upbeat and horn-infused rhythms of Oh Johnny, Oh Johnny Oh! Featuring Lee Duveneck as a skipping Johnny in horned rimmed glasses and a gleeful smile, it is an unconventional, carefree and refreshing swing number about a guy who unwittingly attracts all the girls. As the Andrew Sisters’ frank vocals state ‘You’re Not Handsome, it’s true’ the catchy song boasts more than its share of amusing, spontaneous, and sweet moments.

Company B Lee Duveneck w cast Photo by Ron Thiele

Rum and Coca Cola features the art of the gaze as the tables are turned with Madelyn Ho under the captive eye of a spellbound group of men. In a flowing, red trimmed skirt, Madelyn’s hip shaking, and high kicks as she flirtatious fans herself knock the boys off their feet.

Though the production is mostly spirited and joyous, Company B does make references to the poignancy of wartime with I Can Dream, Can I featuring Christina Lynch Markham’s beautiful solo dance recalling a faraway soldier. The urgent Joseph! Joseph! depicts women, uncertain of the future, pleading to build a future with their boyfriends before they are shipped off to war. Maria Ambrose and Devon Louis reunite for another duet for There will Never Be Another You, a bittersweet and symbolic number as memories of men pass by in haunting shadow by Jennifer Tipton.

Paul Taylor Dance Company had a limited engagement in Boston, but they are still touring. Click here to see where the Paul Taylor Dance Company will perform next and here for more of Celebrity Series of Boston’s dynamic, upcoming performances this season.

REVIEW: Accompanied by A Far Cry, NPR’s Rob Kapilow made an enthusiastic return to Boston with an American classic for Celebrity Series of Boston’s ‘What Makes it Great’ series

Posted on February 13, 2023 by The Sleepless Critic

Though NPR’s famous composer, conductor, author, and music commentator Rob Kapilow has unveiled quite a few eye catching music details over the years with Celebrity Series of Boston from Swing to Broadway to carols and much more, perhaps the most interesting takeaway from Aaron Copland’s classical music composition Appalachian Spring is that it is not about Appalachia nor is it about spring.

Making his return to NEC’s golden and gleaming Jordan Hall in person for the first time in front of an audience since the pandemic, NPR’s Rob Kapilow covered some fascinating music territory in What Makes it Great? with Rob Kapilow and a Far Cry Inventing America Part 2 Copland’s Appalachian Spring: An American Voice for Classical Music on Sunday, February 5 at Jordan Hall in Boston, Massachusetts. The show ran for 120 minutes with a 15 minute intermission. Click here for more information on Rob, here for more on A Far Cry, and here for more information about Celebrity Series of Boston.

Kapilow guided the audience through Aaron Copland’s Appalachian Spring with greater technical zeal and an interactive approach than he has in some of his past performances. Part teacher, humorist, and historian, Rob Kapilow has been performing the What Makes It Great series for approximately 15 years, expertly uncovering a new way to connect to a vast array of music and encouraging the listener to experience this music in an entirely new way from technical composition to its emotional impact.

As beautiful and fanciful as Appalachian Spring sounds, it is neither about Appalachia nor spring and was entirely imagined by Copland who was a Jewish immigrant from Brooklyn. What is so wondrous about this 40s piece is how Copland creates this imaginary and extraordinary world, a piece which was originally called House of Victory, and how it has been historically associated with America over the years. Kapilow uses a bit of a different approach for this particular work by expounding on the technical and mechanical side of the piece and inviting the audience to actively participate in the song’s musical patterns and rhythms. Appalachian Spring is also associated with lyrics and it is a based on the Shaker melody, Simple Gifts, and Rob spends a wealth of time on the mechanics of the piece and how it ties together. It is a method that would thrill classical music fans, music enthusiasts, and musicians alike. He even exposes the subtle intricacies of Copland’s inherent confidence, style, and how to identify it in Copland’s other works.

Grammy-nominated Chamber Orchestra A Far Cry Photo courtesy of A Far Cry

Adorned in suits, ties, and gowns, Grammy nominated and self-conducted chamber orchestra A Far Cry worked seamlessly with Kapilow as he broke down each aspect of the piece, a feat not easy to do with Kapilow’s specific stops and starts. A Far Cry has made its way around the world since they started in 2007 and what sets this orchestra apart from others is the open communication between each musician. A Far Cry reflected just how important it is to remain in sync with the group, especially since they must connect without a conductor. Their camaraderie and chemistry as they play is compelling to witness as they direct each other with each note.

Copland’s Appalachian Spring has a unique zest, playfulness and peppy thrill of nature through harp and chime as well as calm with a western tinge as Rob explains its historical significance and just why the piece is so enjoyable through each note’s placement, rest, and orchestration.

Appalachian Spring was a childhood favorite for Kapilow’s which was perfectly clear through his personal and humorous anecdotes and the natural and engaging enthusiasm he exhibited throughout the production. Rob is always teaching something new to even some of the most trained and learned music enthusiasts. It was easy to see he has missed the live audience and judging from the audience’s resounding applause and standing ovation, they have missed him too.

Celebrity Series of Boston continues its digital and in person season which includes Jason Moran and the Big Bandwagon on February 17, Dreamers Circus on February 24, Aoife Donovan on March 17, and David Sedaris on April 2, and the return of Alvin Ailey on May 4. Click here to see Sleepless Critic’s past review of Dreamers Circus. Click here to see the full list of Celebrity Series of Boston’s upcoming events.

REVIEW: TCAN Players’ classic comedy ‘Harvey’ full of imaginative charm

Posted on November 11, 2021 by The Sleepless Critic

We’ve all had that peculiar relative. It might be an odd extended family member that raises a few eyebrows at family gatherings. A sweet and wonderful person that is often misunderstood. In the Dowd family, that person is Elwood P. Dowd, a mix of old fashioned charm, amiability, and humbleness who just so happened to have inherited his mother’s estate. He is a wealthy bachelor that likes to socialize around town and graciously supports his socialite sister and niece. However, Elwood has something that probably no other relative you might know has in common…Elwood claims a large bunny called Harvey is always by his side. Is he crazy?

Now, Harvey is no ordinary bunny. He’s a rather extraordinary figure to anyone around him and he makes an incredible impact in TCAN Players classic comedy, Mary Chase’s Pulitzer Prize-winning Harvey continuing through Sunday, November 14 at TCAN Center for Arts in Natick, Massachusetts. Click here for more information and tickets.

This popular 1944 production was adopted into an Oscar-winning film of the same name starring Jimmy Stewart, steeped in affable charm as Elwood and accomplished Josephine Hull, who nabbed an Oscar for Best Supporting Actress as Veta. TCAN Players’ Harvey boasts a wonderful cast especially from Jo d’Angelo as Veta. D’Angelo perfects Elwood’s dramatic, intense, at times hysterical, but caring socialite sister who certainly goes through quite a lot in the production’s full three acts. She portrays fed up to a tee and her sharp comedic skills have her swinging from collected to sheer panic in an instant. D’Angelo takes on this meaty role so naturally that it is easy to get swallowed up in her unending drama.

Ashley Harmon gleefully portrays conspiratorial and impressionable Myrtle Mae, Veta’s cooped up daughter longing for adventure. Scott Salley has a gift for comedy as seen in previous TCAN productions such as First Things First and he holds his own as he portrays the straight man in this production. As resident psychiatrist Lyman Sanderson, Salley’s smooth, seemingly knowledgeable delivery with a touch of arrogance makes for a number of amusing moments. He has great chemistry with Sylvia Czubarow as beautifully beaming and complex nurse Ruth Kelly who offers a few zingers of her own. David Dooks depicts seemingly level headed and imposing psychiatrist William Chumley with gravitas and some good-natured absurdity, especially in scenes with delightful John Alzapiedi as Elwood. Though the role of Elwood is so clearly made for Jimmy Stewart which brought Stewart an Oscar nomination, Alzapiedi clearly does not lean on the portrayal and makes compassionate and forthright Elwood his own.

Directed with vintage flair by Lisa Astbury, Harvey is set in the present, but from the classic songs bookending the show, the polished set design by Tom Powers, and Donna Cabibbo’s detailed, retro costumes nods to the show’s 1944 setting. Warmly decorated in floral trim and vintage portraits hanging from the Dowd’s library as well as rotary telephones hearken to that era. The costumes are also faithful to the period ranging from women adorned in floral dresses, rabbit furs, and sophisticated hats to men decked out in trench coats, ties, and sharp suits. The set is divided into two sides, the latter a typical doctor’s office.

Harvey delves into some darker places, but never let you forget it is a comedy. Elwood’s lightheartedness seems to diffuse any stressful situation simply by Alzapiedi’s soothing, influential voice and good nature so the show never embarks into disturbing territory. It is an exploration into relatable family dynamics, a touch of greed, and the power of a little faith.

TCAN Players presents Mary Chase’s inventive comedy Harvey live and in person through Sunday, November 14 at TCAN Center for Arts in Natick, Massachusetts. Click here for more information and tickets.

REVIEW: With comic wit and vintage flair, Boston Ballet’s ‘Genius at Play’ is an exhilarating dance celebration

Posted on September 14, 2018 by The Sleepless Critic

Honoring the centennial birthdays of legendary choreographer Jerome Robbins and composer Leonard Bernstein, The Boston Ballet opened its 55^th season on a joyous, lighthearted note on Thursday, September 6 with Genius at Play continuing through Sunday, September 16 at the Boston Opera House. Genius at Play certainly lives up to its name, a production with glimpses of Robbins and Bernstein’s signature dance moves, music, and lively banter sure to leave the audience in carefree spirits. Click here for more information and for tickets.

Accomplished conductor Beatrice Jona Affron opened the show, leading the orchestra with Leonard Bernstein’s sparkling and triumphant masterpiece Overture to Candide, first performed in 1957. Much of Genius at Play celebrates the very nature of dance and its playful competitiveness and Overture to Candide quite fittingly sets the tone.

Boston Ballet in Jerome Robbin’s Interplay; photo by Rosalie O’Connor; courtesy of Boston Ballet

Interplay, with choreography by Jerome Robbins, rewinds the clock as women pile on high ponytails in casual, colorful costumes by Santo Loquasto. As the mischievous, upbeat rhythm of Morton Gould’s American Concertette plays, dancers Maria Alvarez, Dawn Atkins, Chyrstyn Fentroy, Dalay Parrondo, Isaac Akiba, Paul Craig, Sun Woo Lee, and Lawrence Rines take part in some friendly competition. Creativity runs wild as dancers perform lifts, spins, and high leaps while also paying subtle homage to Robbins as they rhythmically snap their fingers and playfully shake their hips.

With choreography by Jerome Robbins and jazz-infused music by Leonard Bernstein, Fancy Free is the source material for what became the hit Broadway musical and Academy award-winning film, On the Town, a tale about three sailors portrayed here by Irlan Silva, Derek Dunn, and Michael Ryan, who are on shore leave in New York City. Taking a page from the old movies with cheerful 40s costumes by Kermit Love, these sailors realize they are in over their head when they meet three passers-by portrayed by Emily Entingh, Viktorina Kapitonova, and Dawn Atkins. With a multi-dimensional, romantically-lit set equipped with a vivid, leaning lamp post, these sailors depict a wonderful camaraderie as they embark on an amusing night with plenty of surprises.

Boston Ballet in Jerome Robbin’s Fancy Free; photo by Rosalie O’Connor; courtesy of Boston Ballet

With music by Philip Glass and choreography by Jerome Robbins, Glass Pieces is quite the gem. Taking place in what looks like a subway station, Glass Pieces has a palpable rhythm and urgency as dancers are unleashed into a celebration of dance in the city. From a plain landscape into a spectrum of color, Glass Pieces transforms into a splendid piece of artistry as dancers perform in a variety of styles in silhouette, reflective, and in unison.

Lia Cirio and Paulo Arrais in Jerome Robbin’s Glass Pieces; photo by Rosalie O’Connor; courtesy of Boston Ballet

With comic wit, vintage flair, and renowned choreography, The Boston Ballet proudly presents Genius at Play through Sunday, September 16 at the Boston Opera House. Click here for more information and for tickets. For future events and more, follow Boston Ballet on Facebook and Twitter.